Sunday, November 21, 2010

The Theo-literal & Satan

  

 Intelligence learns from its mistakes; wisdom, from the mistakes of others. 
                                                                                   --Anonymous Proverb





My question, What caused Satan to rebel? is not new. Critics, theologians, poets, philosophers, priests, novelists and mailmen have been asking it for centuries. The problem is that none of them have provided a logical answer.

Their explanations have hitherto relied on a crude bridling of pride, envy, or sibling rivalry with freewill. Nonsense.

Adding pride, envy or sibling rivalry to freewill does not work.
What the following writers failed to account for was the cause, the actual CAUSE of the aforementioned rebellion-rousing EFFECTS. Pride-as-cause only begs the questions: What preceded pride? What was the Devil’s mind-state pre-pride? What about the soil in which pride sank its roots?—roses don’t grow on rocks.


Of course, I am handicapped by the restrictions of causal logic. That is, if the rules of cause and effect do not hold for the initial conditions, those that preceded Satan’s rebellion, then the discussion is over; and the delicate bloodline that connects literary criticism to theology is broken.

If we cannot expect to make logic-based cases regarding the theo-literal, then it would be irresponsible and intellectually dishonest to try. If we can, let us proceed.






  "A bad philosopher is like a slumlord. It is my job to put him out of business."
                                                                                        --Ludwig Wittgenstein
 


 THE PLAN:

1) Demonstrate the illogicity of the hitherto high-held reasons for Satan's rebellion; prove to my dear readers that the rebellion-relative arguments found in Saint Augustine's City of God (which posit pride-as-cause and are themselves predicated on those found in Ecclesiasticus--argumentum ad verecundiam) are still considered only because they are the arguments of Saint Augustine (argumentum ad antiquitatem).

2) Demonstrate the illogicity of Milton's rebellion-relative arguments through a careful consideration of the pertinent verses in Paradise Lost. John Milton was not comfortable with Augustine's (and thus Ecclesiasticus') line of reasoning and so a created a line of his own. Unfortunately this carefully crafted line tangles itself into the same snarled skein.--It posits effects as cause, rather than cause as cause. 

3) Demonstrate that despite the inconsistencies of Augustinian and Miltonian logic, critics and authors alike still continue to employ them.


4) Demonstrate that all arguments, all reasons hitherto posed for Satan's rebellion are inconsistent and illogical for the painfully simple reason that they posit effects as causes: PRIDE, ENVY AND SIBLING RIVALRY ARE ALL THEMSELVES CAUSED BY SOMETHING ELSE.--I WILL REVEAL WHAT THAT SOMETHING IS, THEREBY PUTTING TO REST THE QUESTION ONCE AND FOR ALL: WHAT CAUSED SATAN TO REBEL?



                                             




What caused Satan to rebel?


I recently read an article that deals with this question: The Motivation of Satan’s Rebellion in “Paradise Lost” by Arnold Williams. Professor Williams argues that it was not pride that motivated Milton’s Satan’s rebellion, but envy:
Milton could not "accept Augustine's dictum that Satan was evil from the beginning of his existence. The trouble with the motivation from pride is that it answers one question by asking another [my emphasis]. As the medieval theologian, Rupertus Tuitensis, writes, "Quae causae fuerint superbiendi?" It starts with the premise that Satan is evil, that he needs no motivation and hardly any occasion. But even an Iago needs an opportunity to translate his innate moral perversion into overt act. And what was Satan's opportunity?"[my emphasis]. (258)


I was excited to see Professor Williams take the position that answering one question with another is unsatisfactory, but disappointed that he seems to abandon this position by the end of the article:
Without sacrificing the characterization of Satan as a proud rebel, without having to invent where invention is hazardous, Milton [in positing envy as motivation] still avoids all contradictions and inconsistencies, both of narrative and religious beliefs, and achieves a solid and convincing motivation [my emphasis] of the great antagonist. (268)


Milton achieves “a solid and convincing motivation”?! How can the illogicity of answering a question with another be considered “trouble” on one page (258) yet “solid” on another (268)?…Williams is right to assume that “Milton must have wrestled with this problem” (259), but is mistaken in asserting that he overcame the “contradictions and inconsistencies, both of narrative and religious beliefs” by trading one hall of mirrors for another. Envy confronts us with just as many questions and is just as inexplicable, for neither answers the question:

        What caused Satan to rebel?


 No Ordinary Angel: Celestial Spirits and Christian Claims about Jesus by Susan R. Garrett also considers the question:

In the remainder of this section I will address only one question, why did Satan rebel? [my emphasis] Ancient Jews and early Christians told different stories to answer this question, but a common thread runs through them: God favored humanity (or Israel or Adam or Christ) over the angels. Satan rebelled at this inversion of the normal order of things…Most of the angels accepted God’s preference for the ones created in God’s image. But not Satan…According to the ancient document the Life of Adam and Eve, when Michael instructed the angels to worship the newly created Adam, Satan replied, "I do not worship Adam." And when Michael pressured him, Satan continued, "Why do you compel me? I will not worship one inferior and subsequent to me…He ought to worship me.”


How does not answer the question concerning Satan's motivation? It does not address that which is responsible for his insubordination, only that he became insubordinate: “when Michael instructed the angels to worship the newly created Adam, Satan replied, “I do not worship Adam.” This does address the state of his mind preceding this reaction: “I do not worship Adam.” —Yes, but why not? This is what matters.


Mephistopheles: the Devil in the Modern World by Jeffrey Burton Russell considers the question through Vondel’s Lucifer:

Gabriel informs [the angels] that God had decided to become incarnate in humanity thus granting to humans an honor denied the angels. Lucifer envies both this honor and the innocent sexual love between Adam and Eve. [my emphasis] (94)

Russell asserts that “Vondel’s scenario raises logical problems,” but goes no further. Another disappointment.

יה & His Two Sons Satan & Adam by Morton D. Paley posits sibling rivalry as cause:    

“…[F]or one who, like Blake, reads Paradise Lost day and night, Satan and Adam really are Jehovah's two sons. Both were created by God directly, without the mediation of woman, and Satan's sibling rivalry is a prime motive for his decision to destroy Adam: '. . . him who next Provokes my envy, this new favourite Of Heaven, this man of clay, son of despite, Whom us, the more to spite, his Maker raised From dust: spite then with spite is best repaid.' (9: 174-79) (221)

Again, this does not address the conditions that allowed jealousy or envy to fester and thus does not answer the question as to what causes Satan to rebel in the very first place. The other angels did not suffer the same envy—and if they did, they did not act on it. Are we to conclude that Satan was weaker than his brethren? If this is the case, then where is the argument?

Satan: The Dramatic role of Evil by Arnold Stein inquires into the subject, but concludes that this cannot lead anywhere:  “apply[ing] strict logic to Satan, as though he were a philosophical position instead of a dramatic character [reduces him to an] absurdity [,a] logical consistency.” (221)

 As you can see, the scholarship in my field does not supply a COMPLETE explanation of Satan’s rebellion. Envy, pride and sibling rivalry are EFFECTS. I am not concerned with effects, but causes: What caused Satan to rebel?


The current state of scholarship seems silent.  Perhaps I can be of service.







Aarts, John. Vondel's Lucifer,. New York, 1898. Print.

Obviously a citation of this text is necessary in that it provides the basis for Russel’s (below) argument.
Augustine, and Marcus Dods. The City of God, Translated by Marcus Dods. Edinburgh, T. & T. Clark, 1949. Print.

This text provides Saint Augustine’s take on the origin of sin, (which itself is based on the reasoning in Ecclesiasticus). Augustine blames sin on pride. This is unsatisfactory: Pride may explain sin, but does not--CANNOT--explain itself. Considering Augustine’s holy-high standing in the world of philosophy, literature and theology, a demonstration of his argument’s illogicity might be worth considering.





Dante, Alighieri, Sandow Birk, and Marcus Sanders. Dante's Inferno. San Francisco: Chronicle, 2004. Print.


Though only scant attention is paid to Lucifer's initial offense (Inferno, XXIV:34), I still thought it worthy of discussion: Considering that Dante gave so little attention to Lucifer's mysterious motivation, supports my suspicions regarding the lack of contention on this issue.





Milton, John, and Philip Pullman. Paradise Lost. Oxford: Oxford UP, 2005. Print.

Obviously a citation of this text is necessary in that it provides the basis for Williams’ argument.

Paley, Morton D. "ה & His Two Sons Satan & Adam." Studies in Romanticism 41.2 (2002): 201-35. Web. 13 Nov. 2010.

This article takes the position that it was not so much pride or envy in and of themselves, but sibling rivalry that caused the rebellion. This kind of reasoning is false and yet somehow common: Yes, perhaps, the Devil’s rivalry-based pride ignited the fires of rebellion, but that does not explain the origins of the fuel. A hall of mirrors argument.

Russell, Jeffrey Burton. Mephistopheles: the Devil in the Modern World. Ithaca: Cornell UP, 1986. Print.

Much the same way Augustine based his argument on Ecclesiasticus, and Williams based his on Milton, so does Russel base his argument on that of the lesser known Joost Van Vondel, positing not sibling rivalry, but jealousy of “the innocent sexual love between Adam and Eve” as the causative agent. Another hall of mirrors.






Schmidt, Nathaniel. Ecclesiasticus. London: J.M. Dent, 1903. Print.
Obviously a citation of this text is necessary in that it provides much of the basis for Saint Augustine’s argument.

Stein, Arnold. "Satan: The Dramatic Role of Evil." PMLA (1950): n. pag. Print.

This article considers the questions surrounding Satan’s rebellion as meaningless: “apply[ing] strict logic to Satan, as though he were a philosophical position instead of a dramatic character [reduces him to an] absurdity [,a] logical inconsistency.” I disagree, to an extent. I agree with the fact that reducing Satan to a philosophical position might yield absurdities. On the other hand, reducing ANYTHING—even to the electrons tunneling their way though your optic nerves into you occipital lobes as you read this type—can be reduced to an absurdity. The reasoning of Stein’s concern, if taken to its logical conclusion, would reduce the whole of criticism to absurdity.  The reason why this problem is important is that serves as an argumental safety net of sorts, a false sense of security: by stating that the reduction of X to Y--> 0, by extension, condemns the whole alphabet.


Voltaire, and Mike Shreve. God & Human Beings. Amherst, NY: Prometheus, 2010. Print.

This short collection of essays spotlights the ambiguities that cloud our modern conceptions of the Devil. Through a brief exploration of his origins and evolution, Voltaire lays bare the issue: The Devil is not a single individual with a single origin, but a conglomerate figure whose history dissolves into the thick fog of sloppy theology.

Williams, Arnold. "The Motivation of Satan’s Rebellion in “Paradise Lost”." Studies in Philology 42.2 (1945): 253-68. Web. 13 Nov. 2010.

This article considers Milton’s argument: It was not pride that caused Satan to sin, but envy. The reason why pride (Augustine’s “cause”) does not work, according to Williams, is  “that it answers one question by asking another.”  Milton could not accept this, so he posited envy-as-cause, which by some intellectual fluctuation works for Williams.—But not me: Augustine’s pride-as-cause did not satisfy Milton because “it answers one question by asking another.” Does envy pose no further questions?!

Young, Robert. Young's Literal Translation of the Holy Bible. Grand Rapids, MI: Baker Book House, 1976. Print.




Because literal translation contracts the distance between writer and reader, this literal version of the Bible will be the only I draw from.  If I am to get to the bottom of my question, then all pretenses, literary flora and the other obfuscations, must be cleared away. 
Young’s translation provides the clearest English reflection of the original text. That said, the Bible is obviously necessary in considering my question. For it is in the Bible that we encounter the Devil and where we are provided many of the above referenced reasons for his rebellion. I will consider many books, particularly Isaiah, and
Jude.






                                                                      ...........


The above pieces provide many of the more popular arguments for what caused Satan to rebel. Some posit pride, others envy or jealously; one even posits sibling rivalry. And still one states that the question itself is absurd!

I disagree with all of them, and will through my thesis, demonstrate the illogicity of these arguments, while at the same time providing the logical answer to the question: What caused Satan to rebel?

Monday, November 1, 2010

Assignment #6

Maybe it’s my fault. My adrenal glands are bigger than my frontal lobes. I don’t know. All I do know is that my original hope of categorically defining the Devil was too ambitious. His manifestations are too varied, and often have so little in common that superimposition is impossible:




So I have decided on another route. I am not abandoning the Dark Prince, but think it wiser to deal with one of his aspects in one of his manifestations; this has produced a new question: What caused Satan to rebel?

I just finished an article that purports to deal with this question: The Motivation of Satan’s Rebellion in “Paradise Lost” by Arnold Williams. Professor Williams argues that it was not pride that motivated Milton’s Satan’s rebellion, but envy:
Milton could not "accept Augustine's dictum that Satan was evil from the beginning of his existence. The trouble with the motivation from pride is that it answers one question by asking another [my emphasis]. As the medieval theologian, Rupertus Tuitensis, writes, "Quae causae fuerint superbiendi?" It starts with the premise that Satan is evil, that he needs no motivation and hardly any occasion. But even an Iago needs an opportunity to translate his innate moral perversion into overt act. And what was Satan's opportunity?[my emphasis]. (258)

I was excited to see Professor Williams take the position that answering one question with another is unsatisfactory, but disappointed that he seems to abandon this position by the end of the article:

Without sacrificing the characterization of Satan as a proud rebel, without having to invent where invention is hazardous, Milton [in positing envy as motivation] still avoids all contradictions and inconsistencies, both of narrative and religious beliefs, and achieves a solid and convincing motivation [my emphasis] of the great antagonist. (268)

Milton achieves “a solid and convincing motivation”?! How can the illogicity of answering a question with another be considered “trouble” on one page (258) yet “solid” on another (268)?…Williams is right to assume that “Milton must have wrestled with this problem” (259), but is mistaken in asserting that he overcame the “contradictions and inconsistencies, both of narrative and religious beliefs” by trading one hall of mirrors for another. Envy confronts us with just as many questions and is just as inexplicable, for neither answers the great question:

        What caused Satan to rebel?

 No Ordinary Angel: Celestial Spirits and Christian Claims about Jesus by Susan R. Garrett also considers the question:

In the remainder of this section I will address only one question, why did Satan rebel? [my emphasis] Ancient Jews and early Christians told different stories to answer this question, but a common thread runs through them: God favored humanity (or Israel or Adam or Christ) over the angels. Satan rebelled at this inversion of the normal order of things…Most of the angels accepted God’s preference for the ones created in God’s image. But not Satan…According to the ancient document the Life of Adam and Eve, when Michael instructed the angels to worship the newly created Adam, Satan replied, “I do not worship Adam.” And when Michael pressured him, Satan continued, “Why do you compel me? I will not worship one inferior and subsequent to me…He out to worship me.”

This does not answer the question of what motivated Satan’s rebellion in the least because it does not address that which is responsible for his insubordination, only that he became insubordinate: “when Michael instructed the angels to worship the newly created Adam, Satan replied, “I do not worship Adam.” This does address the state of his mind preceding this reaction: “I do not worship Adam.” —Yes, but why? This is what matters.

Mephistopheles: the Devil in the Modern World by Jeffrey Burton Russell considers the question through Vondel’s Lucifer:

Gabriel informs [the angels] that God had decided to become incarnate in humanity thus granting to humans an honor denied the angels. Lucifer envies both this honor and the innocent sexual love between Adam and Eve. [my emphasis] (94)

Russell asserts that “Vondel’s scenario raises logical problems,” but goes no further. Another disappointment.

יה & His Two Sons Satan & Adam by Morton D. Paley posits sibling rivalry as cause:    

“…for one who, like Blake, reads Paradise Lost day and night, Satan and Adam really are Jehovah's two sons. Both were created by God directly, without the mediation of woman, and Satan's sibling rivalry is a prime motive for his decision to destroy Adam: '. . . him who next Provokes my envy, this new favourite Of Heaven, this man of clay, son of despite, Whom us, the more to spite, his Maker raised From dust: spite then with spite is best repaid.' (9: 174-79). (221)

But, again, this does not address the conditions that allowed jealousy or envy to fester and thus does not answer the question as to what causes Satan to rebel in the very first place. The other angels did not suffer the same envy—and if they did, they did not act on it. Are we to conclude that Satan was weaker than his brethren? If this is the case, then where is the argument?

Satan: The Dramatic role of Evil by Arnold Stein inquires into the subject, but concludes that this cannot lead anywhere:  “apply[ing] strict logic to Satan, as though he were a philosophical position instead of a dramatic character [reduces him to an] absurdity [,a] logical consistency.” (221)

 As you can see, the scholarship in my field does not supply a COMPLETE explanation of Satan’s rebellion. Envy, pride and sibling rivalry are all EFFECTS. I am not concerned with the effects, but the causes: What caused Satan to rebel?

The current state of scholarship seems silent.  Perhaps I can be of service.


Garrett, Susan R. No Ordinary Angel Celestial Spirits and Christian Claims about Jesus.  
          New Haven: Yale UP, 2008. Print.
 
Paley, Morton D. "ה & His Two Sons Satan & Adam." Studies in Romanticism (2002): n. pag. Print.
 
Russell, Jeffrey Burton. Mephistopheles: the Devil in the Modern World. Ithaca: Cornell UP, 1986. 
            Print.
Stein, Arnold. "Satan: The Dramatic Role of Evil." PMLA (1950): n. pag. Print.
 
Williams, Arnold. "The Motivation of Satan’s Rebellion in “Paradise Lost”." Studies in Philology 
            (1945): n. pag. Print.







Thursday, October 21, 2010

WE ARE NOT USB PORTS





While probing my periodicals for voice-heavy passages, I asked myself: How does my voice come through in my writing? How do I know that it’s me behind the words? I perused some of my more professor-popular papers, and found the ones I most enjoyed reading were—surprise-surprise—the ones I most enjoyed writing.  They concerned subjects I was comfortable with and confident in—subjects I loved.

What does this have to do with the assignment five? Lots. I  discovered in my search for voice-heavy passages, that they were identifiable through tone, strong stance; they made a statement, and let me the reader know that the author was well informed, confident and worthy not only of my attention, but my trust.

It’s about confidence, self assurance—charge. Let’s take a look at some examples from Jonathan H. Collett’s Milton's Use of Classical Mythology in "Paradise Lost."

But a more skillfully controlled handling of the myths to meet the demands of theme and genre must not be mistaken for a rejection of the gods and goddesses as a fertile source of imagery. (88)

This passage struck me as particularly voicey. Why? Because the author here assumes we have, or might potentially be making a mistake: we “must not be mistaken” regarding X. Though he supports the concern, the statement crackles with confidence.

But the express purpose here is to show how the poet's manipulation of this traditional, though now highly qualified, element of imagery in Paradise Lost can be a way of determining the underlying structure of the imagery as a whole in the poem. There are practically no instances in Paradise Lost of myth used exclusively for visual physical description as there are, for example, in Chapman, the Fletchers, or others of the "Spenserians," or in the similes of Homer. Milton's epic similes involving mythical comparisons are point for point relevant to the action of the story. (88)

Here the author takes an even stronger stance: “There are practically no instances in Paradise Lost of myth used exclusively for visual physical description…” --Straight mettle! a sense of—again—confidence: He's saying : Yes, I have examined this poem, and can assure you that X is not Y, but is in fact Z.

The myths likening Eve to the classical goddesses have been well covered by the editors and critics and need only some short comment here to make the picture complete. (93)

Here again we are reassured of the Collett's authority: “myths likening Eve to the classical goddesses have been well covered by the editors and critics…” The author makes it clarion clear that he is familiar with all that has hitherto been said concerning this issue (the myths likening Eve to classical goddesses): ‘Don’t  waste time worrying about this—trust me: this subject has been thoroughly covered; in fact the puzzle is all but complete; and it is I who have come to complete it!’

Is it all about confidence?—nope. But I do think that it plays a part. I imagine that voice has something to do with that thing they call "subjectivity." In class, the professor made a few remarks concerning some doctoral candidates he’s training, students that could tell you anything about what has been said about a subject, but not what they themselves thought. There is nothing wrong with cold, hard, de- -tached logical analysis, but let’s not forget: WE ARE NOT USB PORTS. Think about it, if it was only about what others thought, then how long would it be before our beloved field, blossoming with ideas, peeping with blessed possibilities, became a sterile steppe? 



Collett, Jonathan H. "Milton's Use of Classical Mythology in "Paradise Lost"" PMLA 85.1 (1970): 88-            96.Print.


Sunday, October 17, 2010

Assignment #4, Part II



I just received an email from our professor offering some thesis formulation assistance. According to Professor Richter, there is a DevilOne and a DevilTwo. DevilOne is a religious figure, “God’s other.” DevilTwo is a literary figure.

DevilTwo is based on DevilOne, but DevilOne is fluid. The professor pointed to Goethe’s Mephistopheles (a DevilTwo) that is based on Luther’s devil (a DevilOne). You see the point: DevilTwo is a function of DevilOne, and since DevilOne is fluid, so is DevilTwo. 



I just finished reading Paradise Lost again--finally! Consider Milton’s Satan. If the professor’s assertion is correct (and it is), Milton’s’ DevilTwo is based on the DevilOne of his time, of his place, what the professor termed the “local” devil.


With this in mind, it seems that I need to find out as much as possible about  Milton’s local devil (courtesy of Luther), what his attributes were etc. Then, after giving this DevilOne figure a shape, I can  superimpose it on Milton's Satan and identify the common denominators/differences.


My job at this point is to outline parameters, discover just what Milton had in mind and what was available to him.


My new question is this: What, with specific attention to the devil-figure in Paradise Lost,  differentiates DevilOne from DevilTwo?

If I can find out what precisely differentiates DevilOne from DevilTwo, then I may actually have something to contribute to the discussion.

Any thoughts?

Saturday, October 9, 2010

SATURDAY MORNING STUNNER, COURTESY OF NIETZSCHE

A fable.— The Don Juan of knowledge: no philosopher or poet has yet discovered him. He does not love the things he knows, but has spirit and appetite for an enjoyment of the chase and intrigues of knowledge—up to the highest and remotest stars of knowledge!—until at last there remains to him nothing of knowledge left to hunt down except the absolutely detrimental; he is like the drunkard who ends by drinking absinthe and aqua fortis. Thus in the end he lusts after Hell—it is the last knowledge that seduces him. Perhaps it too proves a disillusionment, like all knowledge! And then he would have to stand to all eternity transfixed to disillusionment and himself become a stone guest, with a longing for a supper of knowledge which he will never get!—for the whole universe has not a single morsel left to give to this hungry man.

--from section 327 of Nietzsche's Daybreak

Thursday, October 7, 2010

Assignment #4 (so far)

Hello, brother bloggers and sisters scripters.Well, this is where I am with assignment four. This is NOT the finished product, but I thought it wise to share anyway.

1) My question:           

Who or what is the Devil? Can the word “Devil” be defined--categorically? or is it like the word “game”?: Ludwig Wittgenstein posited that the term game eludes definition (see below*). If this is the case, if the term is indeed fated to the same terminal plasticity, then what do we mean when we use it? 

2) How did I arrive at this question?

This is complicated. I have always been fascinated by the Devil. Who is he? Where did he come from? And –most importantly—how did a being created in goodness, out of goodness, become evil? The standard explanations that rely on free will and hubris are unsatisfactory.

3) Where I think this question might lead:

At this time, my line of question points at one of two conclusions: either the term “Devil” is 1) terminally plastic, or 2) it is not.

If “it is not,” then why not? That is, if it is not fluid, then there must be a fixed definition out there, which I will, through an examination of various texts, attempt to discover and provide.

*Consider for example the proceedings that we call "games". I mean board-games, card-games, ball-games, Olympic games, and so on. What is common to them all? -- Don't say: "There must be something common, or they would not be called 'games' "-but look and see whether there is anything common to all. -- For if you look at them you will not see something that is common to all, but similarities, relationships, and a whole series of them at that. To repeat: don't think, but look! -- Look for example at board-games, with their multifarious relationships. Now pass to card-games; here you find many correspondences with the first group, but many common features drop out, and others appear. When we pass next to ball-games, much that is common is retained, but much is lost.-- Are they all 'amusing'? Compare chess with noughts and crosses. Or is there always winning and losing, or competition between players? Think of patience. In ball games there is winning and losing; but when a child throws his ball at the wall and catches it again, this feature has disappeared. Look at the parts played by skill and luck; and at the difference between skill in chess and skill in tennis. Think now of games like ring-a-ring-a-roses; here is the element of amusement, but how many other characteristic features have disappeared! sometimes similarities of detail.
--Section 66, Philosophical Investigations.

Saturday, October 2, 2010

SATURDAY MORNING BRAIN BLAST

“If you wish to converse with me, define your terms.”




                                                                       --Voltaire





My first question is one that I initially overlooked: How is the Devil defined? The other day I read a short essay by Voltaire: "On India, Brahmins and their Theology, Imitated Very Late by the Jews and then by the Christians” which, among other things, explores the concept of the Devil: his origins and manifestations. For instance, though today we may assume that Satan and Lucifer are one--they are not. In fact they represent two wholly different aspects of reality: one light—Lucifer; one dark—Satan.


This got me thinking: what about his other names and manifestations: Beelzebub, Abbadon, etc.? Though Milton clearly distinguishes the former from Satan, many sources do not. Which leads to another question, or series of questions: which manifestation of the dark prince did Stephen Vincent Benét have in mind when penning “The Devil and Daniel Webster”? It is hard to imagine that Mr. Scratch had much in common with Milton’s Satan or the Red Dragon of Revelation.





This all leads me to one ineluctable question: What we are talking about when we say the Devil? What precisely do we mean? When Twain, or Milton, or “J” was referring to the Devil, what did each have in mind; and—perhaps more importantly—what do ALL of these manifestations have in common—if anything?


The result of this investigation will most likely lead to one of two conclusions: 1) that the term "Devil" is terminally plastic, or 2) there is indeed a denominator common to the various manifestations, something to the term "Devil," that though impossible to define absolutely, is nonetheless valid: the term “game” though lacking precise definition, is still understood by all who use it (Wittgenstein).


The next objective is to, having defined  the Devil, cite each and everyone of his manifestations in literature in the English language: Any work of literature, from “Lucifer in Starlight” to "The Mysterious Stranger"—everything.


This second objective might be beyond the scope of an MA thesis, but still might be worth considering.